Thomas PUKLJAK: My work is an attempt to confirm if there is still a place for symmetry in contemporary architecture. . . .

The formal aesthetics are based on a design methodology, which has its justification embedded in the idea of “form follows form.”

The clear focus is nested in the design strategy itself, which builds the coherence between the self-defined site and my design proposal, implying a congruent DNA.

The straightforward task was to design a concert hall in the city of Innsbruck. Why? Because the idea of symmetry in architecture seems to be truly seeded in the design history of concert halls all around the world.

The project is embedded in an aesthetic context starting with Charles Hartshorne’s 1970 “Diagram of Aesthetic Values,” to which Lars Spuybroek refers in his 2012 essay “The Ages of Beauty,” and harks back to the definition of “Vital Beauty” by John Ruskin approximately 150 years ago.

I see the potential of symmetry as a “Tool of Production,” more than taking credit for it’s powerful visual effect. . . . The proposal should be seen as an extreme and excessive framework for music. . . . A concert hall.

sP: What or who influenced this project?
TP: Studio Soqotra, Hernan Diaz Alonso, X|Atelier, and David Ruy.